KODAK VISION Premier Color Print Film 2393
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ESTAR Base, featuring a Kodak-proprietary electrically conductive antistatic layer, a scratch-resistant backing layer, and a process-surviving backside lubricant.
Carefully make safelight tests before proceeding with production work. You can use low-intensity tungsten illumination with a KODAK 8 Safelight Filter or a sodium-vapor lamp with appropriate filters. The sodium-vapor lamp provides the best visual efficiency with the least effect on the film.
Store unexposed film at 13°C (55°F) or lower. For storage of unexposed film longer than 6 months, store at -18°C (0°F). Process film promptly.
You can use additive and subtractive printing methods with preprint materials that have colored-coupler masking.
Laboratory Aim Density
The Status A density aim is:
| ||R ||G ||B |
|Density ||1.09 ||1.06 ||1.03 |
Printing KODAK VISION Premier Color Print Film / 2393 at the same timing lights as EASTMAN EXR Color Print Film 2386 will provide optimum prints for projection.
Analog variable area positive soundtracks of dye plus silver usually restrict the soundtrack exposure to the top two emulsion layers by using a deep yellow KODAK WRATTEN Gelatin Filter No. 12 to absorb blue light.
For a dye plus silver (applicated) variable-area soundtrack, adjust printer exposure to achieve an optimum IR density of between 1.1 and 1.8 on the print soundtrack, as read with an infrared densitometer (800 nanometres peak sensitivity). Excellent frequency response and a high signal-to-noise ratio are obtained in this density range. Use cross-modulation test procedures to determine the density of the soundtrack negative required to produce minimum cross-modulation distortion at the optimum print density chosen. Note: With the same soundtrack negative, the print density of 2393 Film is about .1 higher than 2383 Film.
This film is also designed for a variable-area positive soundtrack of silver plus magenta dye only, printed from a negative soundtrack on EASTMAN EXR Sound Recording Film 2378 /E / 3378 /E / 5378 / 7378 and KODAK Panchromatic Sound Recording Film 2374. Expose only the top emulsion layer by using a filter pack in the light beam comprised of KODAK WRATTEN Gelatin Filter No. 12 and Color Compensating Filter 110 Cyan, or by using a filter pack in the light beam comprised of a green diachronic filter (500 nm to 600 nm). The optimum variable area soundtrack density for the print lies between 0.8 and 1.1 (read at 800 nm). This print density will provide a good compromise between signal-to-noise ratio and frequency response. Determine the density of the soundtrack negative required to produce optimum print density by using recognized cross-modulation test procedures. You can read the silver plus magenta dye soundtrack by both an infrared reader and a red LED reader, with about the same cross-modulation distortion.
Exposure times may range from 1/10 of a second to 1/3000 of a second. There is no need to use filter correction to achieve neutral color balance with fades and dissolves.
After processing, "2393 (strip number) KODAK (date)" is visible along the length of the film.
This is a projection-contrast color print film, primarily intended for optical projection onto a theatre screen. Film-to-video transfers are best made from preprint materials such as original negatives, master positives, or duplicate negatives. Excellent transfers can also be made from prints especially for telecine transfer using KODAK Color Teleprint Film 5381 (35 mm).
KODAK VISION Premier Color Print Film / 2393 offers superior performance during projection. The permanent humidity-independent antistat greatly reduces static charging of the film, "shocks," and static discharge, even at high transport speeds during rewinding and make-up onto platters. The antistat also helps reduce static attraction of dirt to the processed film during projection, resulting in longer print runs with less build-up of black dirt and cinch marks.
This film resists damage from excessive radiant energy during projection, including "hot spot" emulsion voids and dye migration problems. Efficient infrared filters are recommended for lamphouses with bulbs larger than 1600 watts. For uniform illumination across the projector aperture, optically align and focus the lamphouse. An efficient ultraviolet-absorbing filter (cut off at 400 nm) will minimize any print fading during extended runs.
You should maintain constant levels of temperature (20 to 25°C/68 to 77°F) and humidity (50 to 60 percent) during projection. For optimum performance, processed prints should always be wound emulsion-in.
Use tape splices for this film. Since ESTAR Base is impervious to most solvents, cement splices will not work. Keep the knife on the tape splicer sharp and properly aligned with the splicer platen. As the knife is lowered to cut the film, slight leftward pressure will help ensure a tight mesh of the cutting edges to give a clean cut. Taping both sides of the film is recommended to minimize fold-up or stretching. An ultrasonic weld splicer* (Metric splicer)may be used also.
You can use tape splices to intercut triacetate and ESTAR Base film. However, because ESTAR Base prints are 20 micrometers thinner, there may be a slight focus difference when projecting on a large screen. To assure compatibility, order the same type of film stock for all prints used in a production.
* Available from FPC
6677 Santa Monica Boulevard
Hollywood, California 90038
This graph shows a measure of the visual sharpness of this film. The x-axis, "Spatial Frequency," refers to the number of sine waves per millimeter that can be resolved. The y-axis, "Response," corresponds to film sharpness. The longer and flatter the line, the more sine waves per millimeter that can be resolved with a high degree of sharpness--and, the sharper the film.
The curves describe this film's response to red, green, and blue light. Sensitometric curves determine the change in density on the film for a given change in log exposure.
These curves depict the sensitivity of this film to the spectrum of light. They are useful for adjusting optical printers and film recorders and for determining, modifying, and optimizing exposure.
Diffuse RMS Granularity Curves
To find the rms granularity value for a given density, find the density on the left vertical scale and follow horizontally to the sensitometric curve and then go vertically (up or down) to the granularity curve. At that point, follow horizontally to the Granularity Sigma D scale on the right. Read the number and multiply by 1000 for the rms value.
©Eastman Kodak Company 1998